Theater Online - New York Theater Reviews

  

“Environs,” presented by Shelter Repertory Dance Theater, brought to the stage a whirlwind of natural elements coinciding with the intensities of the human experience. Artistic Director Kim Neal Nofsinger intentionally did not include an intermission, a choice I appreciated very much as these works seamlessly flowed from one scene to the next. The sentiment resounded with that of being engaged in a really great book, one where you can’t help but turn page after page as to not waste a single second.  These cyclonic bursts of energy were carefully complimented by quiescent moments of stillness. This company, consisting of five female and two male dancers, takes you through a journey that ignites memories of nature and even one’s own personal relationship with it. 

The Prologue presents us with a poem by Adrienne Rich, recited aloud by one of the dancers. We hear lines such as “this is the grass your feet are planted on” and “a way to make the grass mean what you mean.” The stage is set for our minds to wander into the rural imagery that resides there. The energy and emotion expressed by the company made this connection to earth universal. Following the poem, the company slowly walks in a large circle center stage, making clear, intent eye contact with one another. One by one, they pass through the center of the circle, each bringing a different roll to the floor, reach on the diagonal, leg extension, or barrel-like, dipping movement with their upper body. Each dancer was like a tumbleweed rolling in from different paths. We get a sense that they are all very connected, but add a different nuance from elements of nature. Their sense of unity begs the question; is there a separation between ourselves and the earth“ 

These dancers continue with a homogenous, soothing quality of movement. Creating arches of brushstrokes with their arms, it is as if they are truly one with the air that surrounds them and the molecules of their skin are no different than the breeze that is created. Even onstage, you feel as if you are looking at a landscape rather than a black box theater. Their movements of soft reaches to the sky, and the simple rolling of one shoulder, turning them around to an even run to different corners of the stage, allows the audience to imagine a field of open space. The poetry of text evolves with the poetry of movement. The backdrop gives us an earthy feel, with light and dark tones of brown that can be seen as slanted blades of grass. The dancers move continuously through space in a steady plié, arms softly articulating in waves until they seem to incline to a halt; a moment of realization. They extend one arm forward, absolutely straight in contrast to their curving movements, and lift the leg of the same side of the body to ninety degrees in a parallel attitude. After a moment of reflection, the moment breaks and their arm goes slack yet controlled as they back up and continue on their same rhythm. Many moments occur as if they are holding something delicate in their hands and bring it to every surrounding angle, using all levels from various rolls on the ground, to arabesque turns and attitude jumps. The dancers fully utilize the space as even the very tallest dancer is lifted high by the others and is turned and supported in such a way that it looks as if she is diving directly down into the sea, giving the audience a slight edge as she is just caught in perfect timing with her body pin straight. As the dancers use the lowest point on the floor, we see them roll at full body length, transitioning to tuck their legs underneath them and push their pelvis into the air, and finally pushing themselves in a struggling manner further sideways. I could not help but to imagine this taking place in the thick mud of a swampy scene. 

Many smaller sections occur throughout this evening's work, but one that particularly stood out was a piece entitled “First Bite,” with dancers Hollye Bynum, Lindsey Miller, and Manual Sandridge. After seeing such soothing movement and color up until this point in the evening, we are then face to face with bright red and lime green costumes, and interesting ones at that! These included an apple designed romper worn by Manual, an overly fluffy green synthetically fabricated dress on Hollye, and Lindsey in red leggings and long tank top with a lime green belt. Continuing with nostalgic sentiment with music by Jan A.P. Kacsmarek, we see Lindsey with both legs completely vertical as she lays on her back, pelvis off the ground supporting herself with her arms. Slowly one foot, turned in and contoured to her ankle, makes its way towards her knee as if she is peeling one of the apples that we see on the stage. Two rows of apples, eight red and eight green, sit vertical and parallel to each other as Manual and Hollye seem to take ownership of their respective side. Lindsey center stage dances with a fierce energy of compression and release. As if struggling with an inner demon, pulling her away from her peace with nature, she holds tightly her fist to her heart. You can almost feel the strength of the clenching muscles of the hand. As if not able to withstand the mental chatter and anguish any longer, she forcefully expels this problem and her fist is released, only seconds later to be met with sharp, chopping movements with a straight arm. These mental disturbances are symbolically, and yet vividly destroyed before our eyes, seeing that we have a piece of fruit that is often chopped as well, in our sight at the same time. We are met with a stark contrast from the fluidity and wind through the tall grass when upbeat music surprises the audience. There is not a moment of stopping for these dancers from here on out, as they kick with flexed feet in front and behind them while scooting backwards, leap and roll to the ground, and throw and support each other through various weight transfers in partnering. We conclude with all of the apples being brought off stage by means of the front row seat floor space, as if removing the problems from the scene completely. 

Other parts of this evening of dance poetry in motion resembled natural elements as well, exuding qualities of water, seaweed, rivers and rain. The company concluded as they had started, walking slowly in a circle and one by one tumbling into the middle and releasing a pocket of energy that had been floating through the wind. As the lights fade out and you are left with frozen shapes in a shadow of circle, you can’t help but feel as if you just experienced a ride on the tip of a bird feather, having just soared through the clouds, over a river, through the meadow, and between the valleys. For New Yorkers living in this concrete jungle, this performance was an experience nothing short of a dream in the wilderness.